Guillermo del ToroVerified account

2/13 “It was in the reign of George III that the aforesaid personages lived and quarrelled; good or bad, handsome or ugly, rich or poor, they are all equal now." We will all be betrayed and revealed by time, humbled by our bodies, stripped off our pride.

3/13 The film is a mausoleum of myths: a Funereal monument that stands to crush the bones beneath it. Granite is meant to last but we still turn to dust inside it.

4/13 It’s the anti”My Way” (played in every gangster wedding in the world). Regrets they had more than few. The road cannot be undone and we all face the balance at the end. Even the voice over recourse has DeNiro trailing off into mumbled nonsense-

5/13 I remember, in a documentary about Rick Rubin- he explained how Johnny Cash singing “Hurt” (having lived and lost and gone to hell and back) gave it a dimension it could not have in the voice of a -then- young Trent Reznor (even if he composed it). This film is like that.

6/13 Scorsese started hand-in-hand with Schrader, as young men, looking for Bresson. This movie transmogrified all the gangster myths into regret. You live this movie. It never goes for the sexy of violence. Never for the spectacle. And yet it is spectacularly cinematic.

7/13 Film has the inexorabie feeling of a crucifixion- from the point of view of Judas. Every Station of the cross permeated by humor and a sense of banality- futility- characters are introduced with their pop-up epitaphs superimposed on screen: “This is how they die”

8/13 I never thought I would see a film in which I’d root hard for Jimmy Hoffa- but I did- perhaps because, in the end, he, much like the Kennedys, represented also the end of a majestic post-war stature in America.

9/13 Pesci supremely minimalistic. Masterful. He is like a black hole- an attractor of planets- dark matter. DeNiro has always fascinated me when he plays characters that are punching above their true weight - or intelligence- That’s why I love him in so much Jackie Brown-